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VENUE 7 Webinars

Take a Giant Leap Forward in Power and Performance

Join us for the biggest Avid VENUE release since the introduction of the Avid VENUE | S6L system—VENUE 7. Live sound veterans Robb Allan and Robert Scovill explore the new features and workflows in VENUE 7, including I/O sharing between three networked systems, Milan AVB support, comprehensive Input Delay Alignment, bus-to-bus routing, and numerous other mixing, processing, and signal flow enhancements. Join us and find out how VENUE 7 makes S6L the most powerful live sound platform in the world.

Watch the Webinars

Avid VENUE 7: 2-track USB Recording and Playback

Discover the new 2-track USB playback and record feature for S6L, including how to record your shows directly to USB key in .WAV format with automatic head and tail editing.

VENUE 7: Milan AVB Support

Learn how the new bidirectional MLN-192 Milan option card for S6L enables you to connect directly to solutions via Milan AVB from leading audio manufacturers, including L-Acoustics, d&b, Meyer, Adamson, and others.

VENUE 7: Input Delay Alignment

Discover all of the new compensation methods now available in VENUE 7 to optimize your S6L system, including both FOH and MON workflows.

VENUE 7: Processing and Signal Flow Enhancements

Learn about new signal flow updates in VENUE 7, including post-fader inserts, bus-to-bus routing, increased plugin slots across all systems, mix minus via matrix, and much more.

VENUE 7: Processing Enhancements

Discover the new HEAT processing available to all input processing channels, along with new GEQ/HPF/LPF additions to all output processing channels, the new Big Meters View, and more.

VENUE 7: Sharing I/O Between Three S6L Systems

Learn how to configure and use three S6L systems sharing I/O across the AVB network using Avid’s True Gain technology in a redundant star network.

Monitor Engineer Workflows—April 23, 2020

S6L Unified Platform—May 6, 2020

FOH Engineer Panel—May 13, 2020

What's New in S6L—May 20, 2020

Theatre Sound Design—May 27, 2020

S6L Custom Layouts—June 3, 2020

Demystifying Loudness—June 10, 2020

Groups, VCA’s, and Matrixes in S6L—June 17, 2020

Networking Demystified—June 24, 2020

Using S6L Snapshots—July 8, 2020

Mixing Orchestras & Broadcast—July 22, 2020

S6L Dual Operator Workflows—August 5, 2020

Exploring S6L Connection Schemes—September 16, 2020

Demystifying Immersive Audio—September 23, 2020

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Avid VENUE | S6L Tech Tips

These short Tech Tip videos show you how to quickly access and use key S6L features to get the most out of your system.

Encoder Assign

Position Safe Spill

Sends On Faders

Avid VENUE | OnStage App

Custom Lock Screen

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Live Recording and Virtual Soundcheck with Avid VENUE | S6L and Pro Tools

Watch this two-part video series to setup and use S6L’s powerful live recording and Virtual Soundcheck capabilities in conjunction with Pro Tools.

Part 1: Setting Up & Configuring S6L with Pro Tools

Part 2: Recording a Show & Performing a Virtual Soundcheck

Download the full S6L Live Recording Guide here.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Mixing Muse—Marc Carolan talks with Robb Allan

Getting the Gig

Working with the Band

The Move from Analog to Digital

Signal Path and I/O Sharing

S6L Surface Workflows

Outboard Racks

S6L Plugins

S6L Snapshots

S6L Events

Marc Carolan on Mixing Muse

by Robb Allan

Ok, So I’ve been at a gig or two over the years and scribbled the odd thought down on the back of a ciggie packet. You’ll find the early albums here.

 

As T.S. Eliot almost said:

In the gig the roadies come and go.

Talking of all-things audio

 

So, all and all, I must have watched hundreds of engineers mix thousands of bands. Can’t say I remember all of it, or even most of it, but it seems to me the best FOH mixers break down into two camps. Some engineers are very technical and bring a lot of deep domain knowledge, understand the physics and bring a clear analytical head to the job. Other engineers have a natural talent, come from a musical background, and are full of musical empathy for the artist they work with. Rarely do engineers combine both traits.

I first met Marc Carolan, or “MC” as everyone calls him, twenty something years ago. At the time we worked for different bands with the same management company. It was obvious to me from the beginning that he was the rarest of roadies that had both the musical talent and the technical ability. The life of touring engineers is such, that you may do a couple of tours with someone, spending 24 hours a day together, then not see each other for a while. Usually though—and I think this is one of the best things in a rock and roll life—when you do reconnect, it’s like you’ve just seen each other five minutes ago rather than a year or a decade or however long the while is. MC and I, obsessive audiophiles both, have always zoomed straight back into all things audio when we’ve bumped into each other over the years.

Robb Allan with Marc Carolan

The videos above are the result of just one of these types of catch-ups. No script or set questions—just two audio friends catching up and having a typical back-lounge chat on all things live sound. My colleague Chris Lambrechts and I turned up at a huge Muse open air show in Nijmegen, Netherlands, where Chris set up the cameras with our padawan Michael and filmed us ranging freestyle over a huge range of audio topics. We sat in the FOH position late into the night the evening before the show. It was a little creepy, to be honest, as we were the only people in this outdoor enormodome. We get all over the desk and MC was very generous in sharing everything about his complex and original set up. We were, of course, very interested in his thoughts on the Avid S6L he is using on the tour, but we also talked of many other things that are hopefully of interest to the general audio citizenry. The future of our industry, moving between analogue and digital, plugins, DAW recording, and effects units. We also touched on the pressures of being responsible for the audience enjoyment of large shows, and how as an industry we can improve the experience for our clients and their audience. MC also shows us around his show file, snapshots, events, gainsharing and all of his external kit. There are lots of cool tips and tricks included in the conversation.

We filmed for four hours, and because there is so much content we’ve split the session up into the nine videos above.

As I said earlier, I’ve known MC man and boy, he’s way younger than me. We’ve had adventures mixing different bands on the same tour, we’ve even mixed a couple of bands in common over the years, sharing FOH duties whilst covering for each other. Before the cameras started rolling and after we’d caught up on each other’s families, we were reminiscing about some of those bands and tours. In particular we both spent a lot of time mixing a great Dublin band whose first album is still one of my favourites. We both had some mad stories with them fellas. They love a laugh and were always playing pranks on each other and everyone around them, even random people they’d pull into the madness. They had a really surreal sense of humour. I have so many roadie stories about those tours, I’ve been known to share after a small dry sherry, often apparently. Ask me sometime about the time they met a very famous ambient songstress backstage at a festival, or the mystery of Risteard’s eyebrow!

I remember them once going into a pet shop somewhere in the US and asking to buy a dog. The guy behind the counter asked them what kind of dog they’d like. They answered, “It doesn’t matter, any dog will do.” The guy said, “Well we have all kinds of dogs—what do you need a dog for?”

“Spare parts” they answered.

This was said with great seriousness as they secretly filmed the encounter. The storekeeper is now horrified, “What do you mean spare parts? You can’t buy a dog for spare parts. I must have misheard you.”

“No, spare parts are what we need it for, so if you’d just get us your cheapest dog we’ll be on our way.”

The tears were streaming down my cheeks it was so hard not to laugh.

“You can’t buy a dog for spare parts!”

“Why not, is it because we’re Irish? Are you saying our money is no good here?” This went on and on and eventually he just exploded and threw us out and asked us never to cross his door again. “Crazy Irish maniacs!” Genius.

Sorry, got a bit side-tracked, back to the vids. Hope you enjoy this video series as much as we did in making it. It’s very rare to be able to speak to one of the worlds top engineers, mixing arguably the biggest rock band in the world, right at his desk, candidly sharing all his audio secrets. More blogs and videos soon.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Avid Live Sound Webinars

Join live sound veterans Robb Allan and Robert Scovill as they cover a range of live sound topics and interview leading engineers and sound designers from around the world. Check back often to see what webinars are coming up and watch past webinars on-demand.

Robb Allan and Robert Scovill

Wednesday, September 29th, 2021

1:00 PM ET / 10 AM PT / 6 PM BST

The Bowery and Teragram Ballrooms Choose Avid VENUE | S6L

Robert Scovill interviews Danielle DePalma, Production Manager for the Bowery Ballroom in NYC, to hear why Avid VENUE | S6L was selected to be the live sound console for the Bowery Ballroom, as well as for its sister venue, the Teragram Ballroom in Los Angeles.

 

Register Now

Watch Past Webinars

Monitor Engineer Workflows—April 23, 2020

S6L Unified Platform—May 6, 2020

FOH Engineer Panel—May 13, 2020

What's New in S6L—May 20, 2020

Theatre Sound Design—May 27, 2020

S6L Custom Layouts—June 3, 2020

Demystifying Loudness—June 10, 2020

Groups, VCA’s, and Matrixes in S6L—June 17, 2020

Networking Demystified—June 24, 2020

Using S6L Snapshots—July 8, 2020

Mixing Orchestras & Broadcast—July 22, 2020

S6L Dual Operator Workflows—August 5, 2020

Demystifying Immersive Audio—September 23, 2020

Exploring S6L Connection Schemes—September 16, 2020

VENUE 7: 3 Systems I/O Sharing—October 28, 2020

VENUE 7: Processing Enhancements—November 4, 2020

VENUE 7: Processing and Signal Flow Enhancements—November 11, 2020

VENUE 7: Input Delay Alignment—November 18, 2020

VENUE 7: Milan AVB Support—December 2, 2020

VENUE 7: 2-track USB Recording and Playback

Immersive Sound Mixing for HOW—March 24, 2021

Cross Pointe Church Case Study—April 14, 2021

Streaming Services for Houses of Worship—May 19, 2021

“The Lab” with Robert Scovill

The Lab #1—April 13, 2020

The Lab #2—April 20, 2020

The Lab #3—May 4, 2020

The Lab #4—May 11, 2020

The Lab #5—May 18, 2020

The Lab #6—June 1, 2020

The Lab #7—June 8, 2020

The Lab #8—June 15, 2020

The Lab #9—July 6, 2020

The Lab #10—July 20, 2020

The Lab #11—August 3, 2020

The Lab #12 Part 1—August 31, 2020

The Lab #12 Part 2—August 31, 2020

The Lab #13—September 14, 2020

The Lab #14—September 28, 2020

The Lab #15—October 12, 2020

The Lab #16—October 26, 2020

The Lab #17—February 1, 2021

The Lab #18—February 15, 2021

The Lab #19—March 1, 2021

The Lab #20—March 15, 2021

The Lab #21—April 12, 2021

The Lab #22—August 2, 2021

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Avid VENUE | S6L Waves SoundGrid Integration Video Series

Join award-winning live sound veteran and Avid senior market specialist Robert Scovill in this 6-part series as he takes you through using the Avid VENUE | S6L live system with Waves SoundGrid servers. The collaboration between Avid and Waves provides unrivaled integration, enabling you to interact with Waves plug-ins using the controls on the S6L surface and the VENUE software interface.

Avid’s WSG-HD (Waves SoundGrid High Density) Option Card integrates directly with VENUE 5.7 or later software, and presents Waves plug-ins in the same VENUE Plug-in Rack as your other plug-ins, with full Snapshot automation and ADC support—without needing an additional network switch or external computer. The WSG-HD card provides even offers full redundancy and automatic failover when using two Waves SoundGrid servers.

1. Introduction

2. Basic Operation

3. File Structure & Preset Libraries

4. Snapshots

5. Monitoring & Managing Latency

6. Importing Legacy Show Files

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Avid VENUE | S6L Real Time Workflows

Join award-winning live sound veteran and Avid Senior Specialist Robert Scovill as he shares a wide range of his key Avid VENUE | S6L workflows from the Tom Petty and The Heartbreakers 40th Anniversary Tour.

Intro

FOH System Showcase

Importing Legacy VENUE Show Files

Build A Custom Channel Strip

Channel Knob Module Tour

Custom Color Schemes Part 1

Custom Color Schemes Part 2

Using Bank Safes

Using History Files

QWERTY Navigation

Moving Plug-ins with Events

Main and Spare Mic Events

Using VNC Remote Access

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Stage 16 for VENUE | S6L—Small in Size, Big in Flexibility

One of the coolest new features of the VENUE 5.5 software update for S6L was the added support for the Avid Stage 16 remote I/O box.

The Stage 16 remote I/O box was originally designed as the Stage I/O for the Venue | S3L-X. It was also the first AVB networked Stage Box for Avid and has earned a solid reputation for its sound quality and versatility over the years. Stage 16 was designed and built for the road as proven by the numerous high profile world tours it has been part of, but it is the rack’s versatility that I want to spotlight for this article.

The Stage 16 remote I/O has 16 XLR analog Mic/Line inputs, as well as 8 XLR analog Line outputs and 4 channels of AES digital outputs. It takes up 4U in a standard 19 inch rack configuration, but if you turn the rack ears upright, you can use it as a freestanding dropbox. The ruggedized rubber enclosure is designed for this implementation, and at 7.1 kg / 15.8 lbs and with it’s shallow depth (20 cm / 8.1 inches), it is perfect for spreading out on soundstages or performance spaces that requires easily accessible I/O.

Here are a couple of examples :

  • Set the box right next to your drumkit to mic up the entire kit with minimal mic cable runs.
  • Drop Stage 16 boxes Stage Left or Right or Front or wherever you need inputs or outputs for mics / lines / wedges etc.
  • Stage 16 offers ultimate I/O flexibility for theatre applications, where it can be moved around with set changes

It can be part of your local mix position setup to provide additional IO for last minute requirements like a press or broadcast feed.

On VENUE | S6L any of the Stage 64 slots can be turned into four Stage 16 Slots through a simple drop down menu:

“As soon as it became available I added a Stage 16 to my FOH setup. You very often get a last minute request for a local Press or Journalists feed off the mix, and rather than having to add cables to the back of my desk, I can just point at the Stage 16 and say, ‘there you go – plug it in there…”

—Chris Madden (FOH Anastacia, Pink)

Once configured as Stage 16 slots, you can add Stage 16 Remote I/O boxes to the connected devices setup and combine up to four Stage 16’s with your Stage 64’s:

Stage 16 remote I/O is fully compatible with any expanded I/O configuration for VENUE | S6L, including a dual system I/O sharing setup with True Gain functionality.

And you can seamlessly switch configuration setups between Stage 16 and Stage 64 while maintaining patchbay assignments and Virtual Soundcheck workflows.

Check it out when you get the chance. Stage 16 remote I/O: Small in size, big in flexibility.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Behind the Scenes of ‘Bat Out of Hell The Musical’ with Gareth Owen

Award-winning sound designer Gareth Owen had three of the biggest musical productions running concurrently in London’s West End in the Summer of 2017—Bat Out of Hell, Wind in the Willows, and 42nd Street. His live system of choice? Avid VENUE | S6L for all three.

Watch the video series below and discover Gareth’s secrets to delivering the impactful and immersive sound that makes Bat Out of Hell such a raucous and epic production.

Production Overview

S6L Workflow & Layouts

Gareth discusses the differences between concert sound and musical theatre, the roles of operator and designer, and his philosophy and approach to sound design.

Gareth shares with us how he lays out his channels and VCA’s to enable programming remotely with VNC and operation on the console—his ingenious use of S6L’s layouts and bank safes are a revelation.

S6L Snapshots

S6L Events

Gareth explains how he uses Snapshots to build his shows, the use of VCA’s assignments, momentary snapshots, and how he copes with alternate actors.

Gareth talks about how he exploits the radical new Events capabilities introduced with VENUE 5.4 software in his shows.

S6L Plug-ins

S6L Hardware

Gareth shares the plug-ins he uses, why he uses them, and the settings to achieve specific effects.

Matt Peploe, Junior Associate Sound Designer at Gareth Owen Sound, describes the hardware set up for Bat Out of Hell production at The Coliseum Theatre in London.

Backstory to the Bat Out of Hell Videos

By Robb Allan

I first met Gareth back at the height of Britpop when we were both on an a fairly wild Oasis tour. I was mixing the Manic Street Preachers and he was sub-mixing a string section for our mutual friend, gentleman-scholar and legendary noise boy, Huw Richards. Huw was mixing FOH for the Gallagher brothers at the time, one of the loudest shows I’ve ever heard! We’ve bumped into each other often over the years since then—at tradeshows catching up on audio trends, gigs, even appearing together on talk panels—and have remained friends while having taken different paths. I stayed in the rock and roll world and mixed various fellas with guitars and whatnot, eventually ending up, (long story) working for Avid and helping design mixing consoles. Gareth has spent the subsequent years conquering the world of musical theatre. He’s now a veritable “Prince of Sound Design” on Broadway, the West End, and all across the world. He’s won Tony and Olivier awards and his eponymous company, Gareth Owen Sound, at any one time will have numerous high budget productions spread across the world’s most prestigious theatres.

Gareth and I have spent a lot of time recently talking about theatre workflows and how we can best harness S6L’s open architecture to enable advanced workflows for theatre design and mixing. He had massive input into our VENUE 5.4 software release earlier in the year, generously sharing his ideas and experience with the team.

It seemed like a good idea to get some of these conversations with Gareth into a video, as he is so erudite and articulate on the nature and philosophy of theatre sound design. To share his thoughts with the audio community at large I headed down to the Coliseum Theatre in London’s West End, home to Bat Out of Hell, with a video crew in tow to have a chat. The ambience is a little different from the febrile back stage at a Britpop concert where we used to hang out, but congenial none the less. Although some of the workflows he describes are specific to musical theatre, many of the ideas behind them can be used in concert mixing, corporate, or indeed any of the audio disciplines.

I hope you enjoy watching them as much as we enjoyed making them.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Creating Worship Environments with Avid VENUE | S6L

With its pristine sound quality, seamless Pro Tools integration, and volunteer-friendly workflows, Avid VENUE | S6L is the console of choice for Dallas-based systems integrator Epic Resource Group.

Hear from a range of worship leaders and technical leads on how they use S6L to enhance their diverse services, including:

  • 121 Community Church in Dallas, TX
  • Cross Timbers Community Church in Argyle, TX
  • Cornerstone Christian Fellowship in Chandler, AZ
  • First Baptist Church in Arlington, TX

Discover how these churches use Avid VENUE | S6L to create the most immersive worship environments for their congregations.

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.